This is basic mockup of how Session Drawing videos 11V1, 10V2 and 3V would sound when played simultaneously within a space. A key difference here is that in a gallery setting, the videos are meant to be played asynchronously so that the sound in the space continuously evolves in the space.

Artist Statement

I've chosen to entitle this body of work Session Drawings because the layers if each drawing arrive at their level of completeness over the course of an arbitrary duration or session. Duration may be dictated by simply deciding that a layer is finished or simply on account of mundane interruptions from everyday life. More than one layer can be finished in a session. However, if one layer is completed and the next layer is left in an unfinished state, that’s how it will remain. Something that I begin one night will not be worked on again on the following morning. When a session is over, it’s on to the next.

The idea was born out of an interest in cycles (natural and unnatural) and the idea of change. In life, we are in a continuous state of flux, changing a little bit every minute of everyday. These drawings are a record of that change for me personally—though I believe that this notion extends to everyone and everything. For example, how I might hold a pen one day versus the next, where it hits the page, the kinds of marks that are made, etc are a reflection of small but significant traces of a perpetual state of transformation. The point is not about what a final drawing looks like but is about a process that is whose focus is on the present moment.

The animated work is about extending the ideas of cycles and transformation that are of central consideration in making the Session Drawings. The images are animated in a way that changes in position and form are often subtle and easy to miss over an extended period of time. Sound for each animation is in the same musical key with the intention of all running simultaneously and asynchronously as a single, multichannel piece. Variations in duration between the individual animations as they run together create an evolving soundscape that fills the space. The continuing cycle of harmony and dissonance reflect moments where lines cross or run in parallel.

Each animation is created by first creating an austere system of rules that must be followed precisely. Rolling dice determines everything with each pip given a numeric value. Through this process, the rolling of dice determines factors such as duration, where the particular image will appear in the composition, etc. This system effectively removes me from determining a final outcome in the work. In this way, the rules act as a proxy for natural phenomena.